Between 2016 and 2020, I had the privilege of working in Hong Kong, as an examiner for one of the various universities. During my visits, which always lasted around a week, I stayed in the Causeway Bay area of the city where, jetlagged and unable to sleep, I would spend hours wandering the balmy, midnight streets. Disorientated and exhausted, I witnessed something unforgettable - the moment
when the Hong Kong day collapses into night. Although the humidity lingers well into the early hours, this moment produces something of a pause... a breath... a gathering of forces... This moment
was never silent, however. The city crackled, as if an electrical charge arced through the sweaty streets. Goodnight, Tin Hau uses recordings from my visits in an attempt to re-live that moment. As I composed, however, I was increasingly aware of the changing political situation in Hong Kong, and I now reflect on those four years as part of a much more serious pause... a collapse... a gathering of
forces.

Goodnight, Tin Hau was commissioned by the GRM, Paris, in 2021.

Goodnight Tin Hau - Excerpt

A parting farewell gift to my great friends, colleagues and students at the University of Sheffield Sound Studios... TO US!!!

To US.S..S... - Excerpt

One Times One Excerpt

Twin Cities - Excerpt

The small patch of land bordering Doncaster Street, Sheffield, has witnessed a remarkable period of transformation. Once home to an eighteenth-century foundry, it was located in the industrial heart of the city, nestling along some 250 cementation furnaces employed in the production of blister steel. At that time, the imposing cementation furnace, which still towers over the plot, was a characteristic feature of the industrial landscape, and an emblem of Sheffield’s manufacturing prowess. Although the furnace continued to produce steel throughout the Second World War, operations ceased in 1951, and it now stands alone in the Sheffield skyline, a symbol of industrial decline. For a time, the land lay abandoned and forgotten, becoming little more than a post-industrial wasteland at the edge of the city centre. In recent years, this decline has been overturned; the overgrown, idle patch of land has been transformed into a community space, which invites artistic activities and projects, serving to reconnect the land with the city of Sheffield. In this context, the newly named Furnace Park seems appropriate; it connects the land of the past with that of the present and, hopefully, future. This piece, Foundry Flux, attempts to do something similar; although flux refers to a flowing or purifying agent used in the production of steel, the term is employed here to capture the flowing, changing state of the land itself. Traffic, which circles the patch of land, was recorded and used to generate the entire work. Processing of these recordings serves to imagine the blistering heat of the furnace, before transforming the space into hub of creative practice. 

Foundry Flux - Excerpt

AVG - Excerpt

Fractions - Excerpt

Ctrl C - Excerpt

Co-composed by Adam Stanovic and Inja Stanovic

One Byrd Two Stones - Excerpt

Inam - Excerpt

The United Nations recently predicted that the world population will exceed ten billion by the year 2050. If this prediction is correct, a staggering population boom will occur over the coming thirty years, at a rate never previously witnessed by mankind. This piece responds to the mind-boggling number, ten billion, by giving it a sonic form. Each tiny microsound, or grain, represents one person and, taken as a whole, they number ten billion. The piece, which is 40 minutes in total, was composed for 10 loudspeakers at the studios of Bowling Green State University, USA. I am extremely grateful to Joe Klingler, for funding the Klingler ElectroAcoustic Residency (KEAR), and staff and students at Bowling Green for accommodating my visit. Special thanks go to Dr. Elainie Lillios who worked extremely hard to make the residency happen, and was exceptionally helpful and kind throughout. Ten Billion is dedicated to my wife, Inja Stanović.

Ten Billion - Excerpt

Calculus - for Alto-recorder and Tape - Excerpt

In 2016, my wife and I completed a residency at the Centro Mexicano para la Música y Artes Sonoras (CMMAS). During this time, we started to explore ways in which a melodic theme, initially performed on the piano, might be transformed using electroacoustic resources to produce series of variations. This piece takes one of these themes, initially created at CMMAS, and presents three new variations, interspersed with two noise-based interludes. In doing so, it offers an unambiguous exploration of theme and variation, and thus associates the formal arrangement of materials with music of past eras.

Inja - Excerpt

In early 2017, during a residency at The Holst House, Aldeburgh, I started work on a new compositional method in which materials were joined together in a sequence, or chain, and then rotated around a central axis. This method allowed me to work with a selection of disparate materials, whilst retaining a sense of continuity in terms of their overall behaviour. Initially, the method was very slow, and only allowed me to work with granular materials. During a residency at Mise-en_Place, New York, in 2018, I discovered a similar method for rotating sets of sustained, pitched materials, and this enabled me to continue working on the piece with a much more diverse palette of materials. Circle of Fifths was eventually completed, later in the same year, at The Sydney Conservatorium of Music and is the first of a planned cycle of works, The Helix Cycle, that investigates this method of working. 

I am very grateful to The Holst House, Mise-en_Place, and The Sydney Conservatorium for hosting my visits and allowing this compositional method to be explored.

Helix - Excerpt

We are the Voices of the Wandering Wind
 
…which moan for rest and rest can never find…
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I was inspired to write this piece whilst on a composition residency in Ohio; each day, the endless wind blowing across the plain found its way through a tiny gap in the studio window, producing a high whistling that I managed to record. A few months later, in Lisbon, I heard the wandering wind again. This time it was soft and low, and as listened, half-awake half in sleep, it turned to song...
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We are the Voices of the Wandering Wind was composed at the Sydney Conservatorium of Music, Australia, with support from the Worldwide Universities Network (WUN). I am very grateful to the Conservatorium for hosting me, and to Damien Ricketson and Daniel Blinkhorn for making my visit possible. All materials were recorded on location in Ohio, Lisbon and Sydney, with additional sounds kindly donated by Adrian Moore and Dale Jonathan Perkins.

We Are The Voices Of The Wandering Wind - Excerpt

Hymn Without Words - Excerpt

Get your headphones on! Here is a short excerpt of a new binaural rendering of my monster 10-channel, 40-minute piece based on the number 10 billion. It is a piece that has 10 billion tiny sounds... I was very happy to work with the GRM, and their space plug-ins, to produce this. At some point, I shall post the whole piece...

Ten Billion - Binaural - Excerpt

Baltazars Adventure Through The Great Machine - Excerpt

One Millisecond Excerpt

Isthmus Excerpt

Early Morning Excerpt

Parenthesis Excerpt

Point of Departure Excerpt

Minutiae

Escapade Excerpt

Adam Stanović is an award-winning composer and performer specialising in contemporary electronic music. His works employ a fixed-medium (sometimes accompanied by instruments, electronics, film, and animation), with many exploring relations between pitch and noise. In recent years, Stanović’s compositions have received prizes, awards and mentions in just about all of the major competitions in the field. They have been heard in over 400 international performances to date, and released on 11 different record labels. Stanović regularly speaks on matters concerning electronic music. For more information, visit: www.adamstanovic.com

Adam Stanović (Stansbie)

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